Farhad Samji on fourth Housefull film, taking over directorial reins from Sajid Khan and why it’s imperative to meet Akshay Kumar’s expectations
Himesh Mankad (MUMBAI MIRROR; October 4, 2019)

From writing Housefull 2, to directing part four; you’ve had quite the journey with the franchise.
I was working with my brother (Sajid Samji) back then and after the release of Golmaal 3, Sajid Nadiadwala (producer) asked us to write the dialogue draft of Housefull 2.

When he approached us, I remember the film’s team was stuck at some point in the screenplay. By the grace of god, we solved that problem. Then, we were asked to work on the screenplay as well as dialogue. While working on part two, I discovered the zone of the Housefull franchise.

How would you describe that zone?
It’s about getting all the characters together in a house, and how one lie, one conflict escalates the confusion tenfold. This concept works wonders in the comedy genre. Housefull 4 is an extension of the same, but in a different mould. This is a reincarnation comedy in which the three heroes are going to marry their sisters-in-law from previous birth. It was a difficult film to write, but the audience will enjoy it.

How did you decide on the concept of reincarnation comedy?
Sajid Nadiadwala had this one-line idea about reincarnation with changing of partners. Everyone liked the concept, but it is always difficult to translate a one-line idea into a bound screenplay. It was a long process; we decided on the basic character traits first and then correlated their past and present in the screenplay. For example, in 1419, there is Akshay’s character named Bala Dev Singh, who is bald. In the present era, we have made him a barber.

The most attractive thing about doing a reincarnation comedy is that it hasn’t been explored till date. Our film isn’t a spoof, but a genuine comedy. People often associate Housefull brand with slapstick humour, but this one is a proper reincarnation comedy. It’s about how a character would react on discovering that his lover from a previous life is now his sister-in-law. It’s a situational comedy, not slapstick.

And which of the two eras will evoke more laughter?
We have tried to keep the fun element intact in both the portions, as you can’t afford to be serious in a franchise like this. The best part of our film is that the confusion is at another level, even in 1419. We have the character of Akhri Pasta in the times when pasta was not even invented (laughs). Punches-wise, the modern portion is funny, but one would find novelty in the period era as well.

You took over the directorial reins of the film from Sajid Khan after he was accused during the #MeToo movement. Was it difficult?
I was associated with the film as a writer since its inception and it’s my habit to visit the set regularly as a writer. During the first schedule, I was present to narrate scenes to the actors. Creatively, I was on the same page since the first day and so, it never felt bumpy to direct the film. It was difficult on technical grounds because the most important part—the period era—was not shot.

I knew that the punches and humour would flow organically, but getting the look right was important. Sajid Nadiadwala was there with me throughout, and our rapport now goes beyond that of a writer/director and a producer. He is like a mentor to me.

How did you react when you were asked to direct the film at such a short notice?
I was getting ready for an important schedule of Simmba and suddenly, I got a call from the Housefull 4 makers. They said, “The studio has taken a decision (of removing Sajid Khan) and we want you to direct the film.” I spoke to Rohit Shetty before coming on board this film. I didn’t get any time to prepare. “Welcome aboard, aap parso se shoot karenge,” I was told. It started with a Mumbai schedule, with a ready set for the period era. We also shot some of the present-day portions and the songs. I have directed a little more than 50 per cent of the film.

Rana Daggubati replaced Nana Patekar in the film. Did you have to change the character?
We don’t change character for the actors. Rana is the threat in the story, just like Mithun da was in Housefull 2. He has given us the Bahubali touch here (smiles). We also have Nawazuddin Siddiqui in a cameo, which has taken the film to another level.

This is your third film with Akshay Kumar, as a director...
Akshay is the person who gave me and my brother the chance to become directors and it is imperative that I live up to his expectations. He is one of the most hard-working actors, who wakes up at 5 am to prepare for his role. He is doing a thousand things a day but is still keen to hear the script again and again. With him, it’s about digesting the scenes and characters. That’s his strength. Before coming on the sets, he knows the mood of the scene that is to be shot.

You have written Remo D’souza’s Varun Dhawan, Shraddha Kapoor starrer Street Dancer as well.
Everyone thinks it’s a dance film. But apart from dance, it is the strong emotion that will hold the audience’s attention.

Then, there’s Sooryavanshi too...
There can’t be a bigger combination than Akshay Kumar and Rohit Shetty, who is a hero himself. I have worked a lot with both separately but coming together with them will be a dhamaka. The film is mounted on a big scale. The team is currently filming the climax in Hyderabad.

How different is Coolie No 1 from the original?
The basic premise of a guy getting trapped between two women remains, but it has been given a contemporary touch. I have seen rushes of the film, and it looks fresh.

Lastly, your next directorial, Bachchan Pandey, is also with Akshay…
He is the main guy in the film and we have a tentative cast in mind. We are working on the script day and night and will be locking the cast within a month. It’s an out-and-out commercial entertainer. We go on floors early next year.